Then have them think their positive thought and play a line. Ask them to share how the two experiences were different. Encourage them to write down more of their fear thoughts and turn them to positive ones in the future. Have them use their imagination, or illustrate on paper, a safety net around themselves for when they go on stage.
No bad thoughts, criticism, ridicule, etc can penetrate this safety net or barrier. They can imagine it to be a brick wall, a beautiful pink light, a clear plexiglass window, a porcupine skin, etc. Have them pretend to walk on a stage, protected from anything they fear by their "barrier. Ask your students to write a scale of four or six depending on how much time you have for this exercise catastrophes, either imagined ones or ones that have happened to them, assigning a percentage to each one, depending on how awful they are.
Here might be an example:. For those children that you mention won't step toward the stage, much less get on it: You can have them use their minds to imagine doing something very gradually that they might be afraid to do in real life. You might also pair up a confident performer with a fearful one, and have them pretend to perform together, not even necessarily on a stage, but in a place of their choosing: someone's living room, a silly place, a magic castle, an MTV studio, their dog's favorite hiding place in the woods.
Teach the art of compliment - of others and of themselves. Program "compliment breaks" throughout the day. Everyone has to give out at least 3 compliments to three different people within the next 2 min, or whatever. Everyone has to write down at least 2 compliments about themselves. People with performance anxiety are highly self-critical; it can be helpful to learn to turn down the self-criticism and turn up the self-congratulations.
Just to add to this, now that I'm more awake and have flute in hand and mouth - I do use the little finger on the gizmo for the c , but not the B. B actually responds easier without the d key, and as I sais below, gives time fot the little finger to move. Also, using low c seems to work on my flute as well as the gizmo, in which case would finger b and c without the d key. This of course would be the route with a cfoot. I finger the B without the little finger no D key , the C also without, which gives lots of time for the little finger to reach the gizmo best on B foot or the low C key best on C foot.
This preserves my ears and lips. I've had a couple of beginners with dyslexia and other eye tracking issues. All had problems with spatial awareness and this manifested itself in their ability to track pitch and pulse visually, on a staff. You may need to create your own materials at first or you may have to modify your beginning method significantly. Combining pitch and rhythmic notation: Use SmartMusic to reinforce visual tracking and internalization of pulse. Limit the amount of visual information.
Start with two lines. The top line will be "B", the space in between will be "A", and the bottom line will be "G". I think the Blocki method does this. Someone correct me if I'm wrong. Pat George and Phyllis Louke also talk about using these three pitches for balance reasons in their method book -- left hand notes with a right hand on the barrel. They have a multitude of tunes that only use these three pitches.
Doesn't the Trevor Wye method start the same way? It's late, and I'm not sure of my references. Your student will probably have no issue confusing A with B or A with G.
It's the two that are on the lines G and B that will give her a problem. The mind is processing these two characters as the same. It only can comprehend one variable at a time -- line or space -- thus it misses the whole concept of vertical space. For some students, a colored overlay like a transparency film will help soften the contrast between the lines and spaces and help the eye track properly.
Ask the child's parents if she has a preference. I had one student who seemed to read better with pink, even though I had always been told to use green with dyslexic students. Take this color concept further and assign a color to B and a different color to G. B is red, G is blue. Have your student color or highlight the pitches rather than you doing it for her.
It's more eye-tracking practice! Once you introduce the full staff, you can continue the practice.
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I do this with my non-dyslexic students sometimes. Many confuse B and G or B and D. We agree to use the same color for the same pitch every time they have an issue. It is the hope that the brain will begin to "see" the color difference even after you stop marking them this way. Think of it as induced synesthesia! Most beginning method books introduce rhythms through a division system. This is a whole note. Divide it in two half notes. Divide the half note in two quarter notes, etc. That's a difficult concept for a 10 year old with no learning disabilities!
Sixth grade is generally when most kids began to conceptualize abstract divisions and fractions, and those with learning disabilities tend to master the skill later than that. Why do we begin to introduce an abstract mathematical and spacial concept by using a skill beginning students are just starting to master?!? Get a copy of "The Games of Music". It's a rhythmic method based on multiples rather than divisions of beat.
In other words, it introduces the smallest rhythmic value first and then larger values as ties -- a half note is two quarter notes added together rather than a half note is divided into quarter notes. Your student has been adding a lot longer than she has been dividing.
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Stay in her comfort zone. Divisions of beat are introduced, but not until much time has been spent on 1-beat notes and ties. This method is the only one I have seen that introduces rhythmic relationships simultaneously. It teaches a student to count based on the bottom number of the time signature. This is essentially the "game" of music. The first line with a new rhythm will be written with numbers. The next line will replace one variable with a symbol. Game 8: 2 2 eighth note eighth note eighth note eighth note 2 2. The next line will replace another variable with a symbol Game 8: quarter quarter eighth eighth eighth eighth, etc.
Then, another variable will change. The "game" changes: Game 2: 2 2 half half half half 2 2. Once you put a label in a child's brain, don't expect the brain to overwrite itself very easily just because there's an exception to the rule. One of the issues with dyslexia and reading is the eye concentrates on one character and usually flips it rather than scanning the word as a whole.
In rhythm-reading, this will often come up as an inability to see a "rhythmic cell" even if it is repeated ad nauseum as in a sequence or the flipping of rhythmic opposites. Playing 8th 16th 16th when 16th 16th 8th is written. These are the kids that seem to be encountering a new rhythm every time they read a new piece of music. They have a difficult time seeing a rhythm and finding that rhythm elsewhere. Teaching by rhythmic cells seems to help see the grouping, not the individual note. Daniel Kazez has an excellent rhythm method called "Rhythm Reading". Much like "The Games of Music", it teaches rhythms by the relationships note values have to one another.
For my advanced kids, we will sometimes make a rhythmic cell legend of their etudes. I'm getting way ahead of myself. Your student is six, right? Let's limit the information. Change music notation to something she can understand. Use circles to represent beats. You can easily change them to noteheads later. Connect two circles to form a 2-beat note. Connect three circles to form a 3-beat note. It is very important that you keep the spacing of the beats the same.
In other words, your half note should occupy the same space as two quarter notes. Your student needs to see "invisible lines" where the beat occurs. If the spacing of the notation is faulty, then it will confuse her. Once she is comfortable with traditional notation, put her on SmartMusic. Because it assesses music reading in real time, SmartMusic can improve her reading skills both literary and musical!
It reinforces internal pulse and visual tracking especially if you keep the little cursor on that flashes to each note in time. It has always been my intention to do a research study on dyslexic students and SmartMusic. Does it improve eye-tracking skills enough to improve reading skills? There was a device called a "Controlled Reader" reading specialists used many years ago that was essentially a SmartMusic for text. It was very helpful for dyslexic and all students because it improved fluency by encouraging them to read aloud at a steady tempo -- the "spacing" of time seemed to help the "spacing" of the visual characters on the page.
Unfortunately, the device isn't used in the reading classroom much anymore. I think there is so much potential in exploring SmartMusic's effects on eye-tracking and reading skills. One day. I could only play it on one head-joint; only one Burkart style head-joint out of three that I had on a Burkart piccolo. I have since traded that head-joint with a friend for a sharp cut style Burkart head-joint. It took a great deal of muscle and control. But after a while, I could play the runs up to high D in "Classical Symphony" on the piccolo.
Mind you, few people would WANT to hear it, though! Date: Mon, 5 Nov From: G. Dear Listers, My apologies for the typo in my last piccolo D4 post. The missing 'T' in the third D4 fingering ended up in Shostakovich's name instead. Help with addtional alternate fingerings still very much appreciated, other than the ones given above. Thomas Vibrato is used to increase and decrease intensity. It is sometimes considered a tone ornament and is used most of the time. Good vibrato goes above and below the tone center an equal amount. It sounds forced and sharp if it doesn't drop below tone center enough, and it sounds flat and sickly if it does not rise above tone center adequately.
It takes about 6 weeks to develop if it is pursued correctly and consistently. Start by using a two-octave F major scale in whole notes, one pitch per whole note. Begin by pulsating "hah-hah-hah" on each scale degree. Be careful not to allow the tongue or throat to stop the sound at the end of each pulse. Also, unlike any other time you play, DON'T start each pulse with the tongue.
After this is mastered, switch to the pulsed patterns listed below. The first column builds control and the second column develops musicality. This is one of the ugliest exercises you will ever do, so try not to be self-conscious: just let it be ugly. I never liked to "teach" vibrato and rarely ever do so, unless I hear the beginnings of a vibrato, in the first place.
The first thing I usually do is have the pupil come to the b-board and begin drawing circles with the chalk while moving from left to right - with both hands. I try to encourage the pupils to keep their line-areas straight and even. I let them draw like this with paper and crayon an entire week, sometimes two, until I have the feeling it's smoothe and flowing.
They then try to keep their air as steady as possible while doing this which is very a funny thing to try to do, because it's very nearly impossible. To make this plastic for them I'll let them hum while doing this. They might then rotate their arms synchronically also impossible , in opposite directions and then reverse.
They might also try playing a roll on the timpani or the table top while humming. After this, I take out my tried and true soap-bubbles I hold the hoop and let them try blowing bubbles this way. This way they don't chop up the air flow 'cause then there are no bubbles or do anything drastic with the air. I have three hoop sizes, so Most of the time the pupil's bodies understand this feeling and they start vibrating away without the ugly exercises, which Mr.
Bennet Harold made me do. After the pupil starts vibrating it's another thing to have control over the tone. There are a lot of exercises for that, as you all know, but to begin with I've never shown my son Joshua, now 13 how to vibrate, nor did any of his teachers. He came home from band rehearsal recently and asked me to teach him vibrato. When pressed with my, "what for? You do it beautifully. Are we all laughing and nodding our heads?
Andy Lollya told me that one must spin the tone. I think it's important to be clear about in what direction the tone is supposed to be going and what it's supposed to be touching upon. Often, at the piano, I'll play a series of Vorhalts I've forgotten what it's called in english - appagiatura? The different harmonies clarify the tones differently and they will want to play them differently. This includes, among many other things, how they vibrate the tone. While on the subject I must express my gratitude for Patricia George's see-through vibrato.
Though I think she underestimated the danger to herself, I'm glad to have this document of vibrato, which I assign to all of my university students to watch but don't do this at home, kids. Like encouraging a child to walk, I don't really show them the processes. Instead I put a ball on the floor and enjoy their unique way of going after the thing, help them up after falling and have faith, that it'll be alright. I'm pretty sure that many of us think that this is naive, but, I'm glad to report, it works. Flutistically yours, howie. I love special fingerings!
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I do the same on flute as I mention quite often for the piccolo; in fact, often I've considered working on a doctorate in flute somewhere and writing a dissertation on the history of fingerings for the flute And at the end, I'd like to make some improvements--an addendum if you will to Pellerites book, "A Modern Guide to Fingerings For example, for Ab3 to Bb3 trill. To achieve the Bb3 add the R. With the R. There is a difference to finding the best fingering for certain performance in a certain context and believing in some kind of magic bullets to conquering technique problems for the flute A basic one is learning to use all three Bb1 and Bb2 fingerings, and not just the T 1 1 4 the 1 on 1 fingering Then, use the index finger to reach over and wiggle the C trill key.
In tune, with excellent tone quality! F6-G6 is the piano octave reference, equivalent to the flute 3rd octave. Just in time for "Tee" in the Nutcracker" ballet or the "Chinese Dance" in the "Nutcracker" ballet suite. Just use the adjacent finger R3 for the E6 natural in the escape notes of the trill. The C trill key is really indispensible in my opinion.
Hopefully, and with best wishes, Floyd Hebert. Please excuse me if this was already addressed. Like my University teaching colleagues I am currently swamped with audition arrangements and can scan the digest at best. The classic one, which I learned from extremely expert excerpt teacher Mr Walfrid Kujala, is left hand thumb, 2,3 normal D in other words plus G and right hand: 1 index This works beautifully, and is also used by some in Ravel Daphnis on the first really quiet D of the au movt. Still colorado. Hi Keith, First, let go of "good" - it doesn't exist.
Try fingering high G and trilling the G and first trill key simultaneously. I do them both with the right hand. On many piccolos it passes for G3-A3. When I studied with the late F. One starts the trill by using the standard high G fingering and immediately switching. I use this fingering regularly for flute but I never could blow it on a piccolo.
Heim could! I heard him demonstrate at a moderate dynamic level and rather sustained. There is another fingering that I have found works really well when I can't do a two handed trill:. I think most trill charts don't list the Eb as being down. On flute I don't use the Eb key, but on picc I do. Articulation videos from Nina Perlove No.
What if she rested her chin on a table? If she were to put the whole weight of her head on her chin, she'd see how much effort it takes to move her jaw.
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Then she can say that "take it to kitty cat" phrase my new favorite! It'll hurt a little, but it will bring the point home. If she can then say the phrase with as little jaw movement as possible and her best possible enunciation, she will then see that she is able to tongue without having to also move the jaw. You or she could also make up some mostly 'k' phrases to say, like, "Coco kicks cacophonous cockatiels," since that's the phoneme that's giving her trouble.
A Bb instrument's written C is a Bb on a C instrument piano, flute. An X instrument's written C is an X on a C instrument. To duplicate the Bb instrument's written C on flute, you have to play Bb. That is, transpose down one step. The key of Bb has two flats, so to duplicate a C-scale for the Bb instrument, you change.
To transpose to the key of Eb that is, to play a part written for an Eb instrument on flute , for every note you see, read it a minor third up. The key of Eb has three flats, so add three flats to the key signature that's three more flats, or three fewer sharps. Count the number of sharps or flats in the key of X, and add that number of sharps or flats to the key signature in X's part.
F to C is 4 steps down, or 5 steps up. I hope you find the thoughts below useful. I am sending this article in thre e different sections, due to size. This is an article about the aesthetics and importance of breathing in relat ion to music. It does not delve into details of muscular movements and anato my, but the attitudes and concepts contained herein will undoubtedly influen ce the way that we breathe and shape our music. The first thing we do when we are born - is breathe Whether we are anxious, ecstatic, happy, sad, cold, hot, ag gressive, loving, confident or weak etc.
This is why it is so important for us doubly so musi cians, triply so as windplayers! As instrumentalists, we are so keen to find ways to improv e; this tends to result in us falling into the trap of analyzing things pred ominantly in physical terms, which invariably leads to considerable frustrat ion and dysfunction emotionally and physically, and of course inevitably inf iltrates our playing.
We constantly grope for the latest physical trick or e xercise that we hope will save us and deliver the ease, control and fluency we strive for. In my view, we seem to become SO good at barking up the wrong tree! More important than any exercise or knowledge of the anatomy of our bodies..
If a definitive answer is required, l et it be your answer, rather than someone else's. And if words are n eeded, let them be your words too, born from your inner searchings and convi ctions, rather than playing a futile game of Chinese Whispers, where the res ult is an almost guaranteed misunderstanding. Yes, the answer is that simple - provided you know what your priorities and reasons are The answer is interestingly consistent - for every state of being, there is an appropriate inevitable breath. This is where we go wrong - the control freak in us wants to control the br eath BEFORE we allow ourselves the 'indulgence' of our emoti ons In addition to the above mentioned, it is my belief that c.
To those who can't c. T o be honest with you, I think that we all tend to create defensive attitudes towards things we can't do ourselves - this is a very natural react ion, stemming from our need to protect our confidence and self-esteem when w e are feeling a little vulnerable I often lapse into that mode of thinking when confronted with things I can't do, or don't understand. I first encountered c.
I had an Iraqi teacher Dr Hussam Yacoub who had studied with Platonov in Moscow at the time and my parents took me to see him play the Doppler 'Hungari an Pastoral Fantasy' with our National Symphony Orchestra - I was co mpletely stunned with his ability to play such long, meaningful phrases.
Bec ause I was sitting so close, I could clearly see what he was doing - I could see every drop of sweat dripping from his his face and, more importantly, I could see his cheeks moving. I emerged from the concert ferociously determined to learn c. I had tought myself how to do it! These are the best learning tools for any student to entering the musical world. Student trumpet is necessary for learning. They are very helpful for beginners because of their less functions from professional trumpets.
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Maybe Stores exact offer an retail price that is lower than these figures. Finding and choosing the best student Trumpet: It is not difficult but a bit tricky to find best trumpet in a suitable price. So how can we find perfect one? In general, the student will play smoothly with this trumpets, but not all the functions and mastery in the intermediate or professional model.
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He keeps such good time. That she also knew. Her business, her age, which is 45 — not impossible, but still. Later, I cried. He and G. I congratulated them. She registered his snuggle and returned it with a return-snuggle body spasm without stopping her cooking actions. Again G. She likes the calluses. I turned back to G. She smiled.
In front of me, our glasses had been filled again. Her dress remained white. Mine had clam juice down the front. After dinner, G. I had read that she smokes one cigarette a week. I had brought a pack of cigarettes to test this out. I used to smoke but stopped more than 10 years ago. She had her own pack of Nat Shermans hidden away somewhere and told me that these days it was more like a few times a year. He smiled at her and shook his head. Her feet were bare now, and they had a perfect, substantial arch, just as the Romans intended, engineered to support her statue body. I bet they were a Size 8.
People make shoes so that feet like those can wear them. We blew smoke up the chimney. I drove back to my hotel to find that a family that owned a Mercedes dealership would be hosting an impromptu all-night party around the pool and that I would never get any sleep. I thought of my big, disgusting Size 11 feet, which are wide and flat and have the look of scuba flippers and which designers have shod only begrudgingly.
The car salespeople danced below. The quarterly Goop magazine was introduced last fall with a picture of G. At first, it seemed like a perfect fit. The print product would be a collaboration — Goop content overseen by a Vogue editor. The parting was amicable. I love her. We realized we could just do a better job of it ourselves in-house. I think for us it was really like we like to work where we are in an expansive space. They wanted to be able to sell Goop products in addition to other products, just as they do on their site.
The company publishes magazines, not catalogs. But why? She wanted the Goop magazine to be a natural extension of the Goop website. She wanted the reader to be able to do things like text a code to purchase a product without even having to leave her inert reading position and wander over to her computer. A magazine customer is also a regular customer. Goop wanted Goop magazine to be like the Goop website in another way: to allow the Goop family of doctors and healers to go unchallenged in their recommendations via the kinds of Q.
Those standards require traditional backup for scientific claims, like double-blind, peer-reviewed studies. What is witchery? Is it claims that have been observed but not the subject of double-blind, peer-reviewed studies? These questions had been plaguing Goop for a while — not just what is a fact, or how important is a fact, but also what exactly is Goop allowed to be suggesting? In , a division of the Council of Better Business Bureaus began an inquiry into Goop for deceptive marketing claims about the life-optimizing powers of Moon Juice products, which appeared on the Goop site as a key ingredient in a smoothie that G.
Goop voluntarily stopped making these claims. And last summer, the watchdog organization TruthInAdvertising. A gynecologist and obstetrician in San Francisco named Jen Gunter, who also writes a column on reproductive health for The Times, has criticized Goop in about 30 blog posts on her website since She was angry about all the bad advice she had seen from Goop in the last few years.
But something strange happened. Each of these pronouncements set off a series of blog posts and articles and tweets that linked directly to the site, driving up traffic. At Harvard, G. Goop had learned to do a special kind of dark art: to corral the vitriol of the internet and the ever-present shall we call it cultural ambivalence about G. As of June, there were 2.
The podcast, which is mostly hosted by Loehnen and features interviews with wellness practitioners, receives , to , listens per week. Goop wanted to publish articles about autoimmune diseases and infrared saunas and thyroids, and now it can, on its own terms — sort of. After a few too many cultural firestorms, and with investors to think about, G. Goop has hired a lawyer to vet all claims on the site. It hired a man with a Ph.
And in September, Goop, sigh, is hiring a full-time fact-checker. I once went to an internist twice, complaining of preternatural exhaustion, only to be told that I was depressed and sent home. On the third visit, she begrudgingly took my blood and called me later to even more begrudgingly apologize and tell me I had a surprising case of mononucleosis.
In her office, G. Here she shook her head. This gives me chills. She stood up. Her posture was a marvel. I heard a rumor that she drank a Guinness every day of her pregnancies. I heard a rumor that she was staying with Winona Ryder after her breakup with Brad Pitt and that when Ryder was in the shower G. I heard that she had an affair with Viggo Mortensen while she was with Ben Affleck. I have read more than takedowns of her. She had everything handed to her. But G. She would talk openly about the food habits and exercise obsessions that allowed her to look the way she did. I want to nourish what is real, and I want to do it without wasting time.
We talked about this one morning at a suite at the Carlyle, where she lay across a sofa like a poem. I had taken to, when barefoot, extending the sesamoid part of my foot without pointing my toes, so that my feet looked like Barbie feet, which created an arch where I had none. She said the decision to stop acting and pursue Goop was not difficult, but it had nothing to do with her reputation.
It was kind of like a classic abusive relationship. What people heard, she thinks, was that even her divorce was going to be better than theirs.
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What can she say? How can she really understand who she is in the culture anyway? All she knows is what she hears, and she once heard that she eats in front of the mirror naked. She remembers the week that Star Magazine called her the most hated celebrity in the world. More than, like, Chris Brown? Anyway, this was an old conversation, she insisted. You know what I mean?